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動物的身體裡，花朵不斷綻放。花朵在動物身上出生，綻放，凋零後散落。當人們碰觸動物時，花朵就會凋謝散落。當花朵全部散落後，動物也會隨之消失。

乍看之下由經典形狀的燈隨機排列組成的這件作品，是一件受到觀者與他人影響會發出連續性光芒的作品，換言之它是能夠展現出連續性之美的作品。
當有人靜止站立在燈附近時，最接近人的燈會發出強烈的光芒，併發出聲響。然後，燈光會傳播到最靠近的兩個燈上。被傳播的光芒會發出同樣的聲響，然後再傳播到最接近的燈上，連續地延伸開來。被分成兩束傳播出來的光芒會各自形成一條經過所有燈一次的光之軌跡。由自己發出的光，和由他人產生的光將會交匯。乍看之下隨機配置的燈，無論從哪個燈發出光，光也能夠永遠連續，留下平滑的軌跡，而且會與由他者而生的光交匯。
更具體地說，每個燈配置在空間中的位置使其最靠近的兩個燈之間連出一條線時，都只會出現一條獨一無二的連接線。此外還有燈懸挂高度的不均一分佈，在三維空間里形成的光軌跡的平滑度也經過了定量，空間上燈的配置是根據數學原理得來的。
因此，與人呼應而產生的燈光，儘管只會傳播到最近的燈，但是所有的燈都會被呼應一次並一氣呵成以形成一道光的路徑，同時還與因他者而產生的光交匯，最後回歸到起點。
通過這個過程創造出來的燈的排列乍看起來是隨機的，但這是一種由人們從任何位置與燈互動而創造出來的，表現光的連續性之美的排列。
通過這種過程而創造出來的看似雜亂的燈的配置，使得人們自由地站立在各種位置上，都能與燈產生呼應，繼而產生出光的連續性之美。

點彩繪畫，是用各種彩點來繪制圖像的，而本作品是通過累積光點所創造的立體作品。
人們可以通過智能手機選擇星星並投入，創造出立體物，繼而由這些群體創造出作品空間。在空間裡出現的星星之間相互影響，也會因為投入場所的人的存在，而受到影響。
本作品因人們的存在而時時刻刻地被創作著，並且永遠不斷地產生變化。

Flowers bud, bloom, and in the course of time, wither and die. While eternally repeating the process of life and death, the places where they grow change gradually. When people stand still, the flowers surrounding them grow and bloom abundantly, but when people touch the flowers or walk around, they scatter and die all at once.The artwork is not a pre-recorded image that is played back; it continues to be rendered in real time under the influence of people's behavior. The picture at this moment can never be seen again.
In spring in the Kunisaki Peninsula, there are many cherry blossoms in the mountains and canola blossoms at their base. A visit to this region led teamLab to wonder how many of these flowers were planted by people and how many of them were native to the environment. It was a place overflowing with flowers, a place of great serenity and contentment. This nature is an ecosystem influenced by human activity, making us feel that nature and humanity are not in conflict. Perhaps a truly comforting nature is one that encompasses human presence as part of the ecosystem. Based on the premise that nature cannot be completely controlled, this artwork explores human activity that lives closely aligned to the rules of nature.
This artwork is an ecological pictorial space drawn through Ultrasubjective Space, which continues to be generated along with the body, others, time, and the environment. Viewers physically walk around and touch inside the world of the artwork, transforming it together with others in the same space.
This pictorial space differs from images or paintings flattened by a lens or single-point perspective. In such images or paintings, space appears behind the picture plane; the space that opens there and the space the viewer inhabits are split, and the picture plane becomes a boundary surface. The viewpoint is fixed at a single point, and bodily freedom is lost.On the other hand, a picture plane formed by Ultrasubjective Space is not a boundary that separates where we are from the world of the artwork. The world of the artwork is not outside a window; it appears as a single field that is continuously connected, without boundary, to the space in which the viewer’s body exists. Moreover, any position — front, back, left, or right — can become a viewpoint, so viewpoints exist in infinite number, and the viewer is physically free to move.Not bound to a single point, the viewer moves their body and lets their eyes roam freely, continually re-composing the world of the artwork as it changes over time, and building the pictorial space within themselves. In that moment, the artwork becomes a centerless, subjective, and embodied pictorial space in which the viewer walks and touches.
In this space, the boundaries between the viewer and the artwork become ambiguous. The artwork transforms simply by the presence of a body there, and the behavior of others also changes the world of the artwork. In conventional art, other people were often considered an obstacle that interferes with a one-on-one relationship with the artwork. However, here, the presence of others enriches and creates new changes in the artwork.
This artwork is an attempt to expand painting from a world on the other side of the screen into a space continuous with the body, others, time, and the environment. The artwork continues to be generated within the relationships among the behavior of people, the life and death of flowers, the passage of time, and the entire space. Here, the painting does not exist on its own as a completed entity; it relates to people's bodies and includes the presence of others, existing as an ecological field without boundaries.

這個水族館能夠讓大家所創造的魚兒盡情地遨游。

在紙上隨意描繪魚的圖案，隨之被描繪的圖案，會像被注入了生命一樣，游入眼前巨大的水族館中。
當你觸碰到游泳的魚時，被觸碰的魚兒會馬上逃跑。當觸碰到餌食的袋子時，袋子裡的餌食會讓魚兒們飽餐一頓。

《彩繪城鎮》中繪製的圖畫將成為世界上獨一無二的立體紙模型。

在彩繪城鎮中繪製的汽車、建築等都會各自展開變成展開圖。 將展開圖拼合起來，您就可以製作出世界上獨一無二的立體紙模型。

這張桌子是小人兒居住的桌子。
小人兒在桌子裡邊跑來跑去，不會注意到您的存在。但當您將手或其他東西放在桌子上時，小人兒就會注意到它，並跳到它上面。根據物體的形狀，小人兒可以滑行、跳躍和攀爬。放置很多東西就能讓小人兒玩得很開心。

擺放積木，創造出有火車、車輛、船舶和飛機行駛的城鎮。相同種類的積木會被串連在一起，交通工具們就會開始行駛。如果順利地將許多積木串連在一起，交通工具還會進化升級。
空中看到的是從直升機上可見的景色。直升機的飛行路線也可以通過黃色立方體積木來更改。